More BANG Ready For Your Bucks

Article first published as Blu-ray Review: 'The Big Bang Theory - The Complete Tenth Season' on Blogcritics.

CBS’s The Big Bang Theory completed a full decade on the air last spring. The 24-episode Complete Tenth Season, now out on Blu-ray, DVD, and digital, brought some changes to the sitcom. Relationships matured and deepened, the family expanded, and scientific advancement came with some challenges. While perhaps not as fresh as it once was, the series does remain entertaining, and this was a pretty good batch.

The biggest changes in The Complete Tenth Season revolved, predictably, around Sheldon (Jim Parsons) and Amy (Mayim Bialik). Early on, they move in together. Unsurprisingly, it takes an abnormal event to push such an overdue, big step in their union. And yet, Sheldon handles it a lot more gracefully and openly that he would have even a year or two ago. Which makes their subsequent coitus more genuine. Sheldon will always be the Sheldon we were first introduced to in many ways. More important than these steps are the ways in which we see Amy soften him in all aspects of his life, as well as how he has matured in handling disruption. This is key for a series that’s been on this long.

A little less groundbreaking is how the arrival of Howard (Simon Helberg) and Bernadette’s (Melissa Rauch) baby is dealt with. Yes, the inclusion of Raj (Kunal Nayyar) and Stuart (Kevin Sussman) in the plot make it a little more screwball. In general, though, there isn’t much difference in The Big Bang Theory‘s approach than how other situation comedies have done the same thing previously. The best parts are when we see Bernadette struggle with going back to work and Howard doubt his abilities as a father because of his own upbringing, and I’m glad they didn’t lean into either too melodramatically. Also, tying baby Hallie (Pamela Adlon, Better Things) to Howard’s departed mother is a great move. But I still wish they’d found a more original approach.

Rounding out the ensemble, Leonard (Johnny Galecki) and Penny (Kaley Cuoco) are feeling pretty solid and comfortable this year, especially after their second wedding. Raj slowly gets his love life and independent finances in order. These both show evolution, but like the above, they contribute to The Big Bang Theory‘s leveling out, with less departure from the typical fare in the genre every year. There are some truly funny bits, such as how the pregnancy is revealed to certain characters. But overall, it feels like it might be time to start looking for an end game. Or switch to shorter, more focused seasons like some of the revivals are doing these days.

As in the past, The Big Bang Theory – The Complete Tenth Season, has plenty of great guest stars. Besides the returns of Judd Hirsch, Laurie Metcalfe, Christine Baranski, Keith Carradine, Brian Posehn, Riki Lindhome, and the too-long-gone Brian Thomas Smith, we get Christopher Lloyd (Back to the Future), Jack McBrayer (30 Rock), Katey Sagal (Sons of Anarchy, Married… with Children), and Dean Norris (Breaking Bad). The show stays focused on its leads, as it should, but it has done a good job of filling in other key roles with terrific and appropriate performers, some of whom viewers anxiously await the return of.

As far as extras go, the series brings back the charming #JustAskBBT segment, where cast members answer fans’ questions. There’s a featurette on family, which makes total sense, given the role relations played in several of the stories this year. There’s another on some of the more interesting props, one on the baby, and a humorous gag reel.

The Comic Con panel from 2016 is also included, too late as in most releases. But what’s cool about this one is that it’s the writers and other behind-the-scenes people being interviewed, not the actors, and Rauch serving as a very energetic moderator. That makes it more fun than some of the other panels I’ve seen lately.

The Big Bang Theory – The Complete Tenth Season is on sale now.

Meet Your GIRLBOSS

Article first published as TV Review: GIRLBOSS on Seat42F.

Netflix’s latest series is GIRLBOSS. It’s the story of Sophia, a young woman who doesn’t yet know what she wants to do with her life, and so bounces between jobs and casually breaks the law while sleeping with drummers. You know, just a typical story. In the process, however, she sort of accidentally starts her own business and becomes a powerhouse entrepreneur worth millions. And it’s (very loosely) based on a true story.

Britt Robertson (Life Unexpected, Tomorrowland) stars as Sophia, and brings just the right mix of moxy and snark to the role. Sophia is not very likable when described outside of the story, and yet, there’s something magnetic about her. You may, as I did, find yourself rooting for her to succeed, even as she’s ripping people off and showing utter disrespect to those who don’t deserve it. She’s a rebel who refuses to play by established rules and cuts her own path, which is a much harder way to go through life and not always necessary (as it isn’t here), and yet could end up being more rewarding. I’ve long liked Robertson, but this may be my favorite role for her yet in its complexity, another well-deserved series lead.

Sadly, if you look into the person Sophia is supposed to be in real life, any success will be fleeting, as the company just getting started in this dramedy series, Nasty Girl, recently filed for bankruptcy.

Robertson is joined by an absolutely terrific cast that includes Dean Norris (Breaking Bad), Jim Rash (Community), RuPaul (RuPaul’s Drag Race), Louise Fletcher (One Flew Over the Cuckoo’s Nest), Alphonso McAuley (Breaking In), Johnny Simmons (The Perks of Being a Wallflower), and Ellie Reed. Not all of these are well known, but all are good, mixing younger, fresher faces with experienced, lauded performers. Robertson sort of spans the two groups, talented without a lot of high-profile parts to date, so it works out very well.

The plot itself is pretty good, though after two episodes, I’m not sure it’s completely good enough for the actors. The story itself is relatively predictable and familiar. Coming on the heels of Girls, GIRLBOSS might lack the attention it would otherwise receive. Arrested development has been done before, and somewhat more edgy or raw than it is here. This is like a slightly sanitized version of the too-soon-gone How to Make it in America.

I’m not completely sold on the idea of this being a period piece. 2006 isn’t long enough ago to feel all that different, and aside from the clunky cell phones and a well-placed The Devil Wears Prada billboard, I can’t say it feels all that different from today. The fact that the characters go out of their way to make pop culture references, which do feel shoe-horned in, makes me wish they’d just set it in the present. I don’t know that anything is really added to the story by going backward.

And yet, the truly excellent performances raise the overall profile enough to totally hook viewers in and make you want to watch more. In peak TV, the show might not be good enough to stand out, but I doubt audiences that give it a chance won’t want to see it through. I know I’m full invested already to watch the series until cancellation, whenever than may be.

In all, I do recommend GIRLBOSS, but not unequivocally. This isn’t a show I would tell people they have to watch, but I did enjoy it and do plan to binge it myself. Take that as you will.

GIRLBOSS’s thirteen episode first season is available on Netflix today.

CBS "Heads" Back UNDER THE DOME

Article originally written for Seat42F.

CBS’s Stephen King series, UNDER THE DOME, returned last night with a season premiere penned by the horror master himself. “Heads Will Roll” picks up right where season one ended, with Barbie’s (Mike Vogel) head in a noose and the dome glowing with a bright, white light. From there, the episode introduces several new characters, says goodbye to a couple of main players, and forces Big Jim (Dean Norris) to take a long, hard look at himself. It’s a pretty solid hour.

Big Jim is the villain of the piece, of course, but it seems like “Heads Will Roll” sets him on the road to redemption. As a magnetic force renders most of the citizens unconscious, Jim is plagued by hallucinations of Dodee (Jolene Purdy), whom he killed, and Linda (Natalie Martinez), the first casualty of the premiere. It’s like his own version of A Christmas Carol, and confronted with his failings, Big Jim decides he should end himself, which he almost goes through with until Julia (Rachelle Lefevre) stops him.

Can Big Jim eventually be one of the good guys? The dynamics of UNDER THE DOME are often flimsy, changing on a whim. After all, how many times has Angie (Britt Robertson) seemingly forgiven Junior (Alexander Koch) after he kidnaps her? However, the situation is tense and stress levels are high, which does make it easier to overlook misdeeds. Big Jim has made quite a few blunders in the eyes of our heroes, but most of the townsfolk don’t hate him, so if he works to be the leader they want, which he seems serious about when he gives now-homeless Norrie (Mackenzie Lintz) and Carolyn (Aisha Hinds) a key to his house, we could end up liking him.

With arcs like this, UNDER THE DOME strives to be a serious character piece, meaty drama with layered players. The problem is, it’s just not. It takes shortcuts and allows inconsistencies that hurt the overall impression. For instance, moments before Julia saves Big Jim, she’s ready and willing to be the tool that kills him. How can she shift so suddenly? The writers definitely seemed more concerned with the actions of those on screen than the motivations behind them. And even the actions, such as the dome magnetically pulling metal to it, aren’t the most consistently thought out, with items flying willy-nilly, rather than in a logical pattern, making it more dangerous, but less believable.

Which is not to say UNDER THE DOME is a bad show. I find it quite enjoyable, and there are some genuine surprises, such as Linda being squashed and Angie getting hacked to pieces. I am curious as to what is going on, and I’m engaged with who might die next. It’s just more in the genre of summer popcorn than serious drama.

The deaths do seem a bit arbitrary, which makes it hard to predict who might go next. Angie is one of the four kids who communication with the dome, so she doesn’t seem expendable, but’s she taken out, nonetheless. Plus, she runs the diner after the owner is previously killed, so that leaves a crucial gap in the town. Linda is the last real law enforcement officer left, again, making her seem safe, but she’s replaced by Phil (Nicholas Strong) by the end of the episode, Big Jim’s lackey, for now. The show does not worry about preserving a structure, and is willing to create more conflict by removing those that don’t seem replaceable, bold moves.

To help keep the population up, we are introduced to Sam Verdreaux (Eddie Cahill, CSI: NY), who initially makes a pretty boring corner of a love triangle with Julie and Barbie, but gets more interesting when we learn he’s Junior’s uncle and acts shifty. There’s also Rebecca Pine (Karla Crome), a science teacher, who might finally give us insight on the (uneven) mechanics of the dome, and Melanie Cross (Grace Victoria Cox), a crazy girl. This new blood should keep the story humming along nicely.

More interesting is the reveal of Junior’s mother, Pauline (Sherry Stringfield), outside of the dome. We haven’t really seen how the rest of the world is reacting to the events in Chester’s Mill, and she not only potentially provides a window to the larger universe, but also has strange connections to the dome itself. I, like many viewers, had assumed she was dead. To learn she’s elsewhere only deepens the mystery.

Overall, “Heads Will Roll” is one of the better installments of UNDER THE DOME, with everything from action to self-reflection, to a cameo by King himself. Season two is off to a good start.

UNDER THE DOME airs Mondays at 10 p.m. ET on CBS.

BREAKING BAD Broken At Last

Article first published as BREAKING BAD Broken At Last on TheTVKing.

One of the most anticipated series finales in a while, AMC's Breaking Bad aired its swan song, "Felina," last night. Walter White (Bryan Cranston) returns to New Mexico to settle some scores and preserve his legacy, in danger of being gone completely. It is a very satisfying end for the chemistry teacher-turned-meth cook, though the episode did not serve the supporting characters as well.

It's surprising to see "Felina" start with Walt going to the home of Gretchen (Jessica Hecht) and Elliot Schwartz (Adam Godley). Their part of the story was way back in the early episodes of the show, and they aren't mentioned much after. Yet, there's a nice full-circle feel to Walt confronting Elliot and Gretchen now. At the end of a series, one wants it to tie back to the beginning, and because Walt needs them, it doesn't feel forced to revisit them in this last hour.

Everything that leads Walt to his former business partners is a natural happenstance. We realize that they are the first ones that screwed him over, in his opinion, and so set him on the path of changing from powerless to powerful. What happened with them shaped Walt into the man we've seen him become. Instead of taking revenge, though, as Walt has on others, he uses them as a tool to get money to his family. Their offense is minor, by comparison, and so is their punishment. Though, since Walt needs them alive to fulfill his purpose, that could contribute to the decision not to hurt them.

Is it necessary for Walt to scare and threaten them? His entire interaction with Elliot and Gretchen, from sneaking into their house, to nonchalantly examining things until they notice him, is designed to strike fear into their hearts. We've seen Elliot be generous with Walt before, and it's likely Elliot would have cooperated without the danger of a hit man looming over him. But there's always the chance Gretchen would block Elliot from doing so, and Walt is nothing if not thorough. He leaves nothing to chance.

The fact that Walt's "assassins" are Skinny Pete (Charles Baker) and Badger (Matt Jones) is a perfect twist! Walt sells the idea that he has hired professionals, but part of me was thinking it just might be them, and hoping for it. We get an amusing scene with these two wonderful characters, and I can't help but think they really deserve to be part of this finale, glad that there was a logical way to work them in.

Now, not every important Breaking Bad character gets to be part of the finale. Hank (Dean Norris) is dead, though we see a glimpse of him in flashback. And Saul (Bob Odenkirk) is absent completely, but he already had his ending, disappearing. So while I will not say Skinny Peter and Badger are more essential to the last episode than these two, because Hank and Saul have already had their endings, it's OK that they are missing, and no other important players are excluded.

Even Marie (Betsy Brandt) gets one moving scene. She calls to warn Skyler (Anna Gunn) that Walt is back in town. It's clear the sisters are still estranged, but this conversation shows that Marie has not given up on Skyler, and still cares about her. They will face a very long road if they ever want to get back to having a relationship, but at least there's still a window left open.

Walt is nothing if not brilliant, and he has figured out how he can move around town freely, as he needs to: he simply calls in lots of tips on himself. Marie mentions "two or three voices," so Walt probably has Skinny Peter and Badger calling, too. But how smart is that? Knowing that he will be spotted and that the authorities really want him, he distracts them by appearing to be everywhere at once, spreading the DEA's resources thin.

Walt and Skyler's final scene together is tense, and most of what occurs happens between the lines. We can see that Skyler still loves Walt, evidenced by the fact that she not only lets him in, but lets him see his daughter. And Walt loves Skyler, not telling her the money is coming to her, so as not to sabotage his own efforts, and giving her the coordinates to where Hank and Gomez (Steven Michael Quezada) buried to exchange for leniency from the authorities. But their time is over, and their lack of kiss or hug is very telling. Walt has lost his family.

It's even sadder that Walt can only glimpse Junior (RJ Mitte) through the window, knowing that approaching his son would be his undoing, as Junior would not hesitate to scream for the officers guarding the apartment. In that moment, watching Junior go into his run-down home, Walt has got to feel very guilty and helpless, as he deserves to be.

Then, it's time for Walt to take down his enemies. This is purely in order to satisfy his own selfish feelings, as doing so does not help his family nor anyone else. Walt goes after Jack (Michael Bowen) and crew, and mows them down by outsmarting them, not exactly hard to do with their less-than-stellar brain power, but still impressive. He even thinks to poison Lydia (Laura Fraser) ahead of time, to make sure all the bases are covered. "Felina" needs one good action scene, and the shoot out at the compound takes care of this, but because it's an exhibition of Walt's intelligence, it doesn't feel gratuitous.

Walt's rescue of Jesse seems incidental. Walt doesn't know Jack still has Jesse until he gets to town, and while it could be argued that Walt may want to save Jesse, it feels more like that he wants to get even for having his money stolen, and Jesse being there is just convenient, though not in a false way. That being said, once Walt sees Jesse, he has to tackle him and not just let him get shot.

No matter what has happened between them, Walt still thinks of Jesse as family. In their final scene together, Walt is saying he's sorry without uttering the words. Walt isn't about to grovel and beg for forgiveness, nor is he bogged down in regret about handing Jesse over to Jack. But he sees Jesse has paid his penance, and doesn't want to make Jesse suffer any further. And, as Walt knows he isn't making it out of the compound alive, it doesn't cost him anything to offer Jesse the chance to put him down.

Jesse doesn't feel the same sense of reconciliation. He hates Walt, and has every reason to, blaming Walt for pulling him into this ugly business that has led to the death of not one, but two women he loved. The only reason Jesse doesn't kill Walt is because Walt wants him to do so, and says it. Jesse would rather Walt suffer, and knows Walt isn't having a good life, whether he lives to leave the compound or not. Jesse wants Walt to be miserable as long as possible, and leaves him to be so.

It's a triumphant moment when Jesse escapes. He gets to kill Todd (Jesse Plemons), Jesse's personal torturer, the only one quick-witted enough to duck the bullets, but shocked dumb enough to stare out a window and turn his back on his enemies. Jesse is now free of both the gang and of Walt. It's just a shame he doesn't take a few minutes to find some of Walt's money so he has some cash to start a new life.

The last scene is of Walt, who has been shot protecting Jesse, dying in a meth lab, the melody "It's All Over Now, Baby Blue" playing. This is very powerful and fitting. Walt's product, his "baby blue," was the thing he loved, and it couldn't turn it's back on him like everyone else, not being a person, so he dies in it's company. The bullet Walt takes while shielding Jesse is not redemption; that, Walt will not have. But he has accomplished what he set out to do, and he's ready to lie down and be done.

The story of Breaking Bad is Walt's personal journey, an amazing character study, with the protagonist fundamentally changing from one end to the other. In this, "Felina" serves as a very well-done ending, hitting the beats Walt needs to go through to finish his life, and giving him the death he wants when he wants it. Perfect.

I'm a little sad we don't get to see what happens to Jesse, Skyler, and Junior down the road. I'd hoped, after Walt died, for a montage to let fans know these others are OK. The show isn't about them, though, it's about Walt. That kind of montage could have only been post-Walt's death, but that would robbed the final shot from being of Walt, which it needs to be. So while I really wish for a glimpse of these people down the road, that has to be let go and appreciate that the show did exactly what it should do.

Thank you Vince Gilligan, Bryan Cranston, and company for creating one of the best shows ever made. This is the reason those who previously only read books, looking down on the visual medium, are beginning to turn to television, as excellent examples of storytelling can be done on the small screen, too. The entire five-season epic will stand as a shining example of what TV can and should be.

Breaking Bad will be missed.

BREAKING BAD's Empire Falls in "Ozymandias"

Article first published as BREAKING BAD's Empire Falls in "Ozymandias" on TheTVKing.

"Ozymandias" isn't just a character in Watchmen; it's also a Greek poem about the fall of an empire. How fitting, then, that AMC's Breaking Bad's ante-penultimate episode, which depicts Walter White's (Bryan Cranston) crumbling drug empire completely self-destructing, bears that title.

"Ozymandias" begins with a flashback to Walt and Jesse's (Aaron Paul) first cook in the desert, at the same location where the shoot out in the previous episode takes place. Jesse acts an idiot as Walt calls home to pregnant Skyler (Anna Gunn) to lie about his whereabouts and discuss what to name their daughter. It's a touching throwback to how it all began, as well as showing the bookends of the main plot arc. I can't imagine a better way to tie everything together.

Then, we're back to the current timeline of the story. It was hard to accept last week that neither Hank (Dean Norris) nor Gomez (Steven Michael Quezada) was shot in the hail of gunfire brought about by Uncle Jack (Michael Bowen) and company. Turns out, Breaking Bad just chooses not to show us their wounds until this week, perhaps allowing viewers to hold out hope, as Walt does, that there is a way his brother-in-law can survive this showdown.

In fact, Walt pleads with Uncle Jack, as Gomez lays dead and Hank shot in the leg, willing to give up his entire eighty million dollar fortune to save Hank. Walt's hubris has been laughable before, but it's been a long time since he's been this pathetic, groveling with absolutely no power. It's a bit of a surprise that Walt will give up his money for Hank, but I guess family still matters to him somehow, or at least the idea of it does, as his actions during this hour show him scrambling to hang onto something he has already lost.

Hank is completely the opposite in this situation, defiant and bad-ass 'til the end. He knows he's dead, and he's not about to whine about it. Whereas Walt would never accept death with dignity, Hank is wise and brave enough to understand the scenario and hold his head high anyway. Hank doesn't want to die, but he sure fools everyone, biting out some great bits of dialogue before Jack inevitably puts a bullet in his brain.

It's hard to lose Hank, especially now. With Walt so close to being taken down, the one man who has spent so much effort working towards that goal doesn't get to see it happen. And Hank has kind of become the hero of the show. He will definitely be missed.

That said, at least the way this plays out fixes the hesitations about the end of last week's episode, unfolding the way it realistically should.

Walt does get to leave the desert, but not before angrily selling out Jesse, whom he definitely blames for Hank's death, leaving Jesse with the bitter truth behind Jane's (Krysten Ritter) death. There isn't any logical reason to cause Jesse this last bit of pain; it's delivered purely from a place of anger. Heisenberg is gone, and petty Walter White comes out, a despicable, weak man, the father-son relationship they once had completely gone now, both feeling betrayed.

Jack is willing to dissolve his deal to make Walt cook one more time in exchange for most of the money, and Walt departs with a single barrel, still having plenty of cash to live the rest of his life on, but  getting the more valuable outcome of being completely done with Jack. Walt is separating himself from the drug life, and in this moment, we witness the end of the character's professional journey.

It's not a problem for Jack to lose Walt's expertise because he has Jesse. Sure, Jack will likely eventually fulfill the bargain and kill Jesse. But until then, Todd (Jesse Plemons) gets to use Jesse to help make meth the way it's supposed to be made. Jesse cooperates because he still cares about Andrea (Emily Rios) and Brock (Ian Posada) and Todd knows this, using them as leverage.

This is the worst end for Jesse imaginable. His dignity and humanity are stripped from him, making him a disposable slave with a very finite time limit left on his life. Fans may hope a miracle happens and Jesse survives this, but it doesn't look likely at this point, and even if he does, it will come at great cost. With all of the dark stuff unfolding in "Ozymandias," it's not hard to imagine that the final two hours will be just as depressing.

Meanwhile, we see Marie (Betsy Brandt) in a position of triumph. Surprisingly, Marie is gracious in victory, still offering to help Skyler out. True, she makes Skyler spill everything to Junior (RJ Mitte), who doesn't believe the story at first. But she's determined to make sure her sister comes through this OK, which shows their bond isn't completely destroyed. This is good because the women will definitely be needing one another to lean on with both of their husbands removed from the picture.

This is really the first time we get to see Marie so strong. She doesn't possess the evidence to further Hank's mission alone, so this is all very short-lived. But it's a great pay off for a sometimes annoying character, stepping up and getting some good material.

After running out of gas (serves him right!), Walt finally makes it home and tries to flee with his family, who are less than cooperative when they quickly realize Hank is dead. It doesn't matter that Walt denies he did it, and in Walt's own twisted brain he probably thinks he isn't responsible; they blame him anyway. Hank's death is what finally wakes up Skyler to turn on Walt, and she has Junior's support.

There is a very tense scuffle with a knife, when viewers can be forgiven for thinking a member of the White family may be grievously injured. However, the scene is more emotional than physical confrontation. This is where the line in the sand is drawn and sides are taken, and it's probably also the final time we will see all four together. Walt's family's collapse is right on the heels of his business's demise, and so he snaps.

Snapping is the only way to explain the way in which Walt flees, smashing Skyler's car, taking all the money, and abducting baby Holly. Walt has never much taken care of his infant daughter, more in love with the idea of being a dad than determined to be a good one, and he likely takes Holly more to punish Skyler than because he wants to raise her himself. It's a very low blow.

I have to hand it to Vince Gilligan and the writers, though. Just when you think there is absolutely zero humanity left in Walt, he shows a smidgen of it, returning Holly via the fire department and calling Skyler to give her an out. Yes, the angry words Walt says to Skyler probably have a lot of honesty in them. They also serve, though, to absolve her of legal liability, making the cops think he bullied and forced her to participate, and his tears show he knows this, sacrificing himself for her.

It is a sacrifice, too, because what Walt says can be used as evidence to prove him guilty. Up to this point, with Hank and Gomez dead, there is still a chance Walt can get away with things, even if it would probably be temporary. In doing this, he focuses the blame now so that it won't continue to plague his family or eventually take them down, even though such events would likely come after Walt's death from cancer so it doesn't personally benefit him to do so. Though he doesn't leave his family the money, at least not yet, so his selfishness shows, too, even if one may argue he's "keeping it safe" for them until they can actually use it.

Then Walt gets into Saul's (Bob Odenkirk) guy's van and heads away for his new life. This is probably where we'll get the time job and reach the moments shown briefly in the season premiere, with Walt returning home well after what we've just seen. This is really the end, with those others hours serving as an epilogue. Or is it?

"Ozymandias" will stand as one of the best episodes in one of the best shows on television. The drama is heavy, the feelings are flowing, and the stakes are high. Beloved characters go down, and relationships are dissolved forever. Yet, it all feels completely natural to the story, and with the stunningly brilliant acting of this cast, it's as moving as anything I've ever seen on the small screen. Extremely well done.

Breaking Bad has two episodes left, airing Sundays at 9 p.m. ET on AMC.

BREAKING BAD Showdown at "To'hajiilee"

Article first published as BREAKING BAD Showdown at "To'hajiilee" on TheTVKing.

I figured out what the super secret twist is for the series finale of Breaking Bad while watching last night's episode - the show will give us all coronaries so we won't be around to see the last hour. Brilliant!

Seriously, with only three hours left now, last night's "To'hajiilee" started to feel like a series finale, and made the tension and surprises of the first four hours seem tame. Jesse (Aaron Paul) tells Hank (Dean Norris) that if they want to catch Walt (Bryan Cranston) red-handed, they have to go after his money. Between them, they come up with a tricky scheme that does the job, getting Walt to panic, and having him lead them straight to where he buried the cash, where they finally arrest Walter White.

Walt thinks he's smart, and he is. But when two other intelligent people team up, namely Jesse and Hank, Walt falls apart. He is used to second guessing one person, but not two that know him so well and are so intent on taking him down. As much as Walt may be the protagonist of the series, it is definitely satisfying to see him outwitted in this manner.

Jesse has every right to hate Walt. No matter what small signs Walt shows that he cares for Jesse, such as when Walt asks Uncle Jack (Michael Bowen) to kill Jesse in a quick and painless manner, Walt also screws Jesse over, like when he visits Andrea (Emily Rios) and her son in "To'hajiilee" as a threat. Jesse may not know about either of these two things, but they illustrated patterns that Jesse has experienced at the hands of the kingpin.

The utter look of relief and happiness in Jesse's eyes when Walt is captured is great. Jesse has been through a lot, and most of it can be blamed on Walt. With Walt put away, and Jesse not having to sacrifice more of his soul by killing Walt, Jesse finally sees a way to escape this and put it behind him. Jesse isn't concerned about jail time for himself right now; he's just glad to be done with the meth life and everything that comes with it.

Marie (Betsy Brandt) is also excited, as she reveals in a phone call with Hank. She may love her sister, Skyler (Anna Gunn), but Marie hates Walt for everything he has done to their family. Hank proves he is the good husband and excellent officer of the law by taking down Walt for her, and she is grateful.

Sadly, Marie and Hank's phone call, sweet as it is, just foreshadows to viewers paying attention that things will not go down smoothly. Uncle Jack ignores Walt's plea to call off the hit on Jesse and shows up with a full armed posse at the site where Hank, Jesse, and Gomez (Steven Michael Quezada) have captured Walt. Guns go off, and the good guys are pinned down.

I was totally convinced that Gomez, at least, and probably Hank, were going to die at the end of "To'hajiilee." That no one actually went down, the DEA officers ducking behind their SUV, Walt and Jesse shielding themselves in the cars, and Jack, Todd (Jesse Plemons), Kenny (Kevin Rankin), and the others coldly unloading clip after clip at them, unconcerned about return fire, is amazing, and a little bit of a let down, feeling inauthentic.

Let's dissect this for a moment, though. It's unsurprising that no one from Jack's gang dies yet because Hank and Gomez are trying to duck and cover, thus leaving them shooting mostly wildly and blindly. But why can a group of guys, well armed with fast-firing weapons, not hit two men who are out in the open when the shooting begins? Could it be that they don't want to kill a cop if they don't have to, somehow hoping they can shoot Jesse and nab Walt without taking down either DEA agent? Are they just really terrible shots? I don't think Todd is, with that steely gaze. I assume there is a purpose to their missing, or Hank would already be bleeding in the dirt.

Which begs the question, how can this stand-off possibly end? Will Jack give Hank and Gomez the opportunity to leave if they hand over Walt and/or Jesse? Uncle Jack needs Walt to cook. And Uncle Jack doesn't know about the barrels of money, nor does anyone else not at this place, as Hank didn't officially call in the raid or mention the cash to Marie, so that shouldn't be part of the equation. The end of the episode, going black after many shots fired, but with no one bleeding, leaves an optimistic feeling that this isn't quite the Alamo.

However, with only three hours left, there will be some major movement at this place. The days of tip-toeing around Walt are over, and this is full out war between the various players. We don't know how a free, beaten-down Walt eventually makes it back to his ruined house, but that is the only glimpse of the future we've had. Everything else is completely up in the air. It's going to be great!

Other wonderful moments in "To'hajiilee," besides the final scene: Junior (RJ Mitte) starstruck at meeting Saul (Bob Odenkirk), Walt's panic when Saul shows up at A1, the way Hank, Jesse, and Gomez fool Huell (Lavell Crawford), turning him into a blubbering mess, Todd's weird flirtation with Lydia (Laura Frazer), and Uncle Jack's suggestion that blue food coloring will fix Todd's non-blue meth batch.

"To'hajiilee" is a fantastic episode with funny moments, some unintentionally so, great tension building, and one of the most memorable finales ever, letting viewers know that the gloves are fully off and this is it. Buckle up and get ready for the end.

Breaking Bad has three episodes left, airing Sundays at 9 p.m. ET on AMC.

BREAKING BAD Pure "Money"

Article first published as BREAKING BAD Pure "Money" on TheTVKing.

AMC's Breaking Bad kicks off its final eight hours with "Blood Money." After a glimpse at a bleak future where Walter White's (Bryan Cranston) secret is out and his home is abandoned and defiled, the action picks up right where the previous episode (which aired last summer) left off: Hank (Dean Norris) finally suspects Walt of being Heisenberg, Jesse (Aaron Paul) wrestles with guilt, and Walt lies and threatens anew.

I feel like the only way for Walt's story to end is in death. Walt has become an extremely bad dude, as evidenced with many of his words and deeds in "Blood Money." This is a kingpin who is no longer trustworthy for anyone, and he must be brought down. The question is, who will end Walter White's life?

My money is on Walter White. We see him with an M-16 and poison in the opening of the installment. With his cancer back, something he is neglecting to tell anyone, Walt doesn't have long to live, anyway. Perhaps he wants to go out on his own terms, either peacefully by consumption of tainted food or liquid, or violently in a showdown.

The argument against this theory is that Walt is a survivor. He wants people to know who he is, and he isn't content to allow himself to be caught. These feelings could waver in the face of his mortality, but Walt's conversation with Hank, in which he brags to Hank that no jury will send a dying man to prison, shows that Walt is not ready to give up yet. Backed into a corner, this could change.

Or Hank might get Walt. Hank is loathe to publicly accuse and investigate family until he's sure Walt is Heisenberg, staying home from work and checking on things off-book. However, when Walt and Hank have their confrontation, we see how angry Hank is, and Hank punches Walt, making it clear he won't help Walt get away with anything. Hank will work vehemently in these final episodes to bring Walt down.

I hope Jesse doesn't have to hurt Walt. Jesse is having enough trouble dealing with his own behavior, handing out cash he sees as "Blood Money," rather than keeping his earnings from making meth. Jesse is reckless, intent on punishing himself for what he thinks he deserves if no one else will. Yet, we know Jesse is a good guy at heart and we want to see him get better, not descend further. Having to kill Walt could permanently destroy Jesse.

A nice surprise might be if Skyler (Anna Gunn) has to pull the trigger. She's back in Walt's life, sharing his bed, and running the car wash business together. However, she is not a pushover, and would not hesitate to protect her family, and would be able to sleep at night afterwards. She will be furious when she learns Walt is hiding his cancer from her again. Perhaps it's time for her to show ever more backbone and be the ultimate hero.

One thing is certain, Lydia (Laura Fraser) doesn't have the guts to do it. She may be desperate, seeking Walt's help at work, even as Walt tells her to stay away, but that won't be enough to bring down Breaking Bad's protagonist. She is weak and scared and that counts against her.

"Blood Money," besides giving us much to ponder, is a wonderful hour, finely crafted. From Marie's (Betsy Brandt) joking comment that Walt is the devil, to Walt's two 'hello's to his neighbor, to Badger (Matt Jones) and Skinny Pete's (Charles Baker) Star Trek conversation, there are layers and metaphors and memorable moments. There are also beautiful, dramatic, character-driven scenes between Hank and Walt and between Walt and Jesse. This indicates the show will maintain its quality til the end, and that is definitely something to look forward to.

Breaking Bad airs Sundays at 9 p.m. ET on AMC.

CBS Going UNDER THE DOME

Article first published as UNDER THE DOME Review on Seat42F.

Grade: 86%

CBS, perhaps in an attempt to combat the lame, reality and re-run heavy summer fare on the basic networks, has a new offering premiering this week. Titled UNDER THE DOME, this thirteen episode series, based on the Stephen King novel of the same name, follows the residents of Chester’s Mill Maine when a transparent, sound-proof, impenetrable dome suddenly crashes down over their town.

UNDER THE DOME feels a lot like other summer programs in the past that haven’t lasted, such as the one where a handful of people were trapped in a town and were watched on cameras, or other Stephen King TV dramatizations, or even a little bit like cult-favorite Jericho. It has the sort-of post-apocalyptic, yet still small-scale and personal, feeling of a drama about people on the edge.

The cast, whom we are mostly introduced to in the first eight minutes, before the dome appears, are a broad spectrum of individuals, almost as if there was a checklist that had to be satisfied when putting together the ensemble. None of them are particularly original characters, even though there are some very good actors playing them, as they are without exception archetypes that have been seen on a variety of other shows.

Among those featured are: Barbie (Mike Vogel, Bates Motel, Pan Am), an ex-Army officer who comes to town and kills someone, then is trapped before he can escape; Big Jim (Dean Norris, Breaking Bad), the crooked councilman who wants to use the disaster to manipulate the town into his own personal kingdom; Angie (Britt Robertson, Life Unexpected), a waitress who dates a too-clingy boy; Junior (Alexander Koch), Big Jim’s mentally unbalanced son who has designs on Angie; Julia (Rachelle Lefevre, What About Brian), a journalist with a missing husband; Dodee (Jolene Purdy, Gigantic), a mouthy radio engineer; Duke (Jeff Fahey, Lost), the ineffective patsy cop; and Linda (Natalia Martinez, Detroit 1-8-7), a deputy whose fireman boyfriend is outside the dome.

Believe it or not, that is not a complete roster of the characters featured in the “Pilot.” UNDER THE DOME presents a sprawling cast with few connections between one another thus far, but surely more will be revealed as things unfold, as we’ve been taught it common for small towns. Unlike a series like Lost, these people aren’t banding together, but instead following their own motivations and activities.

As such, there isn’t a clear, cohesive story in episode one. Everyone has their own implications of the occurrence to deal with, and as no one even really knows what’s going on yet, there has been no concentrated effort to solve the mystery or find a way out of the disaster. A couple people have sort of started down that road, but have barely begun to investigate.

Which isn’t to say there aren’t some intriguing set-ups. A couple of theories are put forth, at least one character reveals to viewers that he actually does know what is happening, one on the roster above is dead by the end of the first hour, there are some clues that indicate a larger conspiracy, strange seizures appear other-worldly, and various family connections pop when one is not expecting.

There are also a few missteps in UNDER THE DOME. I feel like the dome actually coming down is unnecessarily brutal. A cow is split in half and slides down the wall, leaving a bloody streak. A plane smashes into the dome, and among the debris raining down is a severed limb. A truck rams the barrier and becomes almost as flat as a pancake. None of these are executed in impressive fashion, given the low special effects budget and broadcast network restrictions, so they aren’t particularly amazing. Instead, they come off as cheap gags designed to entice the viewer, but failing to do so because of their cheesy execution. It would be better if we got more dialogue scenes and less of these “shockers.”

If the focus stays on the characters, rather than gross gimmicks, UNDER THE DOME should provide satisfying summer entertainment, probably the best of the Big Four networks’ programming. There is some real talent present that can be better utilized than we’ve seen so far. But it’s not regular season-quality, and it does feel like an amateur effort compared to other projects. King may be able to write fantastic novels, but they seldom translate into groundbreaking shows or movies, and this one is not on the level of The Shining or the few other notable exceptions to that rule.

UNDER THE DOME premieres Monday, June 24th at 10 p.m. ET on CBS.

Breaking Bad pauses in final season

AMC's Breaking Bad pauses this week, a mere eight episodes into its finale season. There will be eight more installments, but they are being held until next summer to give the writers more time to figure out an ending for the popular, critically acclaimed series. This wait sucks, to be frank, but I guess it's worth it if the ending of the show delivers, as it almost always does, rather than trying to rush greatness.

In this midseason finale, "Gliding Over All," Walter White (Bryan Cranston) takes stock of where he is. Walt has become a kingpin, controlling his own drug empire, and striking fear into the hearts of those who would oppose him. Killing anyone who might expose his secret trade, he is finally the kind of ruthless bad ass that he once cowered to.

But at what cost? His wife, Skyler (Anna Gunn), feels like a hostage, drinks heavily, and won't meet his eyes. She keeps his kids away, refusing to let them stay in the house with a criminal whose business is so dangerous for himself and those around him. Walt has murdered Mike (Jonathan Banks). He has run off his long-time partner, Jesse (Aaron Paul), who hates what Walt has become. And all he has left is a somewhat inept assistant named Todd (Jesse Plemons, Friday Night Lights, Bent).

This is a turning point for Walt. He has to choose between his loved ones and his meth making life, because he can no longer balance both. One or the other must be given up, lest he destroy everything. And it's a decision he must make himself, since no one else wants anything to do with him, the supporting characters not only stepping away from Walt, but appearing far less on screen, too, enhancing the feeling of loneliness in a very neat way.

Walt chooses his family, telling Skyler he is out, and attempting to make amends with Jesse. What would cause Walt to do this? The entire run of Breaking Bad has been about turning the sickly, mild-mannered chemistry teacher into a hardened thug at the top of the food chain. Walt loves the power and control, and relishes his new-found confidence. There are almost no signs that he would back down, especially after refusing to budge when Jesse and Skyler plea with him to. Why does the let the loneliness get to him now, of all times?

A hint may be found in a montage slightly earlier in "Gliding Over All." As the various character are shown going about their business in this changed world, Walt revisits the hospital. Is his cancer back? That's not clear from this episode. It seems a safe assumption to make, as there wasn't really anything else in the hour that would spur Walt to shift direction now.

But Breaking Bad doesn't finish with the viewer there. After seeing Walt in a happy, normalized life again, there is a final bombshell. Hank (Dean Norris), while sitting on the toilet in Walt's house, finally makes a connection. Hank now knows that Walt is the elusive Heisenberg, whom Hank and the rest of the DEA have been searching for. Will Hank do his duty and bring Walt in? Or will family loyalty win out, especially now that Walt has given up the trade and moved on? The way that Hank has been built up, as a wonderful, complex character, his next move in not predictable.

So what will the finale eight episodes be about? Well, a big piece has to stem from Hank's decision based on his new knowledge. Will Walt's family be protecting him? Will they work against him, as there is a point in "Gliding Over All" that it seems like Jesse and Skyler will turn him in? It's too bad that Skyler hates Jesse, because they would probably find much to agree on. Is Walt lying? Is he dying? Will he turn back to meth if the going gets tough? Will someone, or more than one someone, end up dead?

Breaking Bad concludes next summer on AMC.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! First posted on TheTVKing

Please "Live Free" Breaking Bad!

Grade: 88%

AMC’s BREAKING BAD moves into its final season this week with “Live Free or Die.” After the usual cryptic opening set in the near future, the premiere does not set up a new story. Instead, the events of the hour deal with the aftermath of last year’s finale. With Gus (Giancarlo Esposito) recently killed, everyone tries to process that news, and figure out their next step.

Gus may be dead, but Walt (Bryan Cranston) and the others aren’t out of the woods yet. Remember that video camera that followed Walt around the lab? So does he. But before he can get his hands on the footage, Hank (Dean Norris) and the police take Gus’s laptop as evidence. Locked up in a very secure evidence room, it seems there is no way that Walt’s nefarious activities won’t come out. Mike (Jonathan Banks) advises they all run.

Walter White has come a long way on his journey to becoming a kingpin. In earlier seasons, the former chemistry teacher would have panicked, or perhaps not known what to do. And Walt will do something, because he has no intention of uprooting this life he has built himself, or fleeing from anyone. While Mike doesn’t even consider any other option, Walt remains calm, and quickly devises a plan.

Actually, it’s Jesse (Aaron Paul) who suggests the genesis of the scheme. Again, another character who has shown a lot of growth. Jesse used to be an idiot junkie. But after learning much about chemistry and attitude from Walt and Mike, he is able to keep a clear enough head to remember that magnets can destroy computers, and that might be something that they can use.

So after Jesse convinces Mike not to kill Walt, the three of them embark on the crazy mission of driving a giant junkyard magnet right up to the wall of police headquarters and cranking it all the way up. This is effective, and while their ride is sacrificed, they do make a clean get away. They are safe, for now.

Is there anyway that the magnet can be traced back to them in the upcoming investigation? Many, many criminals surely have things in the evidence room that they would like destroyed, and surely there are multiple laptops, even if Gus’s is the only one shown. But while the magnet may be nondescript, it shouldn’t take the police long to find the one junkyard in town that has a new one. After that, it is anyone’s guess how the employees at said junkyard will react to an interrogation.

Long before that happens, though, there might be a more immediate problem. The alliance between Mike, Jesse, and Walt is temporary. Who will fill the power vacuum left by Gus? One of them, or someone else? If it is someone else, they might stick together a little while longer. If it’s one of the trio, someone will have to end up dead, because these are some very strong personalities that just won’t become subservient.

It won’t be Jesse. Jesse is a follower. He naively trusts both Mike and Walt, and that will likely be his undoing, sadly. He may suggest a course of action, but he believes in them, is willing to stick his neck out for them, and is happy to take orders, rather than give them. Walt has already used this against Jesse, manipulating him by poisoning a child. Should Jesse realize this, the tide may change. But until that happens, Jesse is blind to his friend’s machinations, which means that he is putting his faith in someone that he shouldn’t.

Surprisingly, perhaps, Mike has developed a bit of loyalty towards Jesse. While Mike wants to shoot Walt immediately, he stands down when Jesse gets in the middle. It could also very well be that Mike only participates in the magnet plan to protect Jesse. Their mentor-mentee relationship was formed as another way to control Jesse, but if Mike’s affection for the lad wasn’t real, why would he go along with this?

Maybe it will take Mike and Jesse to bring Walt down, should the true depth of Walt’s dark soul ever be exposed. Walt has everything that he needs, but after each accomplishment, he only gets more over confident, and desires more power and money. This cannot go on forever. Look at Gus, a true power player, who is eventually stricken down. The play BREAKING BAD presents is a tragedy if ever there was one, and Walt will not, can not, end up on top.

Elsewhere, Ted (Christopher Cousins) wakes out of his coma. This sends Saul (Bob Odenkirk) and Skyler (Anna Gunn) into a panic, as just before Ted was injured, he was ready to expose their money laundering. Only a lucky fall saved them then.

Skyler rushes to the hospital to confront Ted, and see what must be done now. Given how disturbed Skyler was by Ted’s accident in the first place, as well as her horror at what Walt has become in killing Gus, it is unlikely she would sign off on any plan that would cause Ted further harm, no matter what the consequences to herself. Thank goodness Ted is now compliant, thinking his life is in danger if he doesn’t keep his mouth shut. Which means that Skyler shouldn’t have to follow her husband’s descent to protect her family.

What is more surprising is how Walt reacts to learning about the Ted situation. Previously, Saul and Skyler kept this issue from Walt. Saul tells Walt the story, and after a bit of anger, where Walt is clearly threatening Saul, Walt returns home, hugs his wife, and tells Skyler that she is forgiven. This is arrogant and creepy, something that plays well on Skyler’s face. What has Walt become? Does she even recognize who her husband is these days? And can she ever love a man like this?

BREAKING BAD is a masterful character study. With only fifteen episodes left, there is a real sense that some things will soon be coming to a head. Each character is going to have to figure out what they want, and what they are capable of doing to get it. There has to be betrayal, because many of these goals will run counter to each other. If the writing continues to be as good as it consistently has been for the past four years, viewers are in for one heck of a finale!

BREAKING BAD’s final season airs Sundays at 10 p.m. ET on AMC.